Little Shop of Horrors

Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

Directed and choreographed by Tony and Olivier Award-nominated Carrie-Anne Ingrouille (Six), this bold revival takes Alan Menken and Howard Ashman’s beloved, cult classic and breathes new and utterly brilliant life into it resulting in a thrilling theatrical experience that you won’t want to miss.

Based on Roger Corman’s cult classic, Little Shop of Horrors introduces us to Seymour, (Jed Berry) a timid florist trapped as a browbeaten assistant to the harsh Mr Mushnik (Michael Starke). Life on Skid Row is pretty bleak, the shop is failing fast, and Seymour is secretly in love with his coworker, Audrey, however everything changes when he purchases a strange and interesting plant whom he names Audrey II. But, as the plant begins to wither, Seymour makes an alarming discovery…the plant needs human blood to survive. As the carnivorous Audrey II grows, so do Mr Mushnik’s profits and ultimately Seymour’s fame. Could this bloodthirsty beast be Seymour’s golden ticket out of the gutter and into Audrey’s arms or will the price of success be too high to pay?

Jed Berry is an absolute joy as Seymour, perfectly capturing the character’s wide-eyed innocence with a sweet, well-meaning sincerity that instantly wins over the audience. He entirely nails the essence of Seymour giving us a loveable underdog we can truly invest in while his vocals are utterly sublime. Stepping into the iconic shoes of Audrey is EastEnders and Strictly star Maisie Smith. Smith plays the Skid Row shop assistant with a delicate vulnerability, effortlessly blending sharp comedic timing with soaring, powerhouse vocals. Opposite Berry’s endearingly awkward and lovesick Seymour, the duo share a wonderful on-stage chemistry, their flawless, rendition of fan favourite “Suddenly, Seymour,” ensuring the audience is wholeheartedly rooting for this unlikely pair to succeed.

Michael Ayton gives us show-stopping vocals as Audrey II, effortlessly capturing the soulful, sinister sass of the blood-thirsty botanical beast. Brookside legend Michael Starke makes for a wonderfully scheming Mr Mushnik, while Benjamin Yates is perfectly cast as Leader of the Plaque, Orin Scrivello, the Dentist. Unhinged, unforgettable and utterly brilliant!

Special mention must also go to the iconic trio of narrators, Psalms-Nissi Myers-Reid as Crystal, Gabrielle Davina Smith as Ronnette, and Rio Maye as Chiffon. Their harmonies are to die for (literally), adding further depth to Alan Menken’s much-loved score while they deliver Carrie-Anne Ingrouille’s slick choreography to perfection.

Award-winning set and costume designer Morgan Large has constructed an incredibly striking set which impressively maximises the intimate space at Hope Mill Theatre, bringing Skid Row to Manchester in incredible style. The intricate Audrey II puppets (also designed by Morgan Large and created by Robert Allsopp) are seamlessly operated by a team of puppeteers (Julia Frost, Christopher Dobson and Imogen Khan) who together with Michael Ayton ensure there’s no mistaking this is a living, breathing, badass botanical.

Musical director Ben Barlow with sound designers Sam Glossop and Harry Greatorex ensure Alan Menken’s score sounds sharp and vibrant while Rory Beaton’s lighting design confirms the sheer quality of this production.

Forty years after the film first captured our hearts, this brand-new revival proves that the monster hit is bigger, bolder, and more of a must-see than ever before! Superb!

Little Shop of Horrors is on at Manchester’s Hope Mill theatre until 30th November before it heads to Liverpool’s Playhouse from 3rd December until 9th January tickets and info are available here.

The Talented Mr Ripley

Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐

There is undeniably something compelling about Tom Ripley. Patricia Highsmith’s most famous creation first emerged in 1954 in The Talented Mr. Ripley, followed by four additional novels and several film adaptations featuring actors such as Dennis Hopper and John Malkovich. The latest screen version stars Andrew Scott in Netflix’s Ripley. Yet it was arguably Matt Damon’s 1999 portrayal in The Talented Mr. Ripley that propelled this chilling character back into public consciousness and introduced him to a new generation.

In 2015, writer and director Mark Leipacher adapted Highsmith’s The Talented Mr. Ripley for the stage. That production has now been revived and is currently touring nationwide.

“Have you ever had the feeling you’re being watched?” is a recurring line uttered by Tom Ripley (Ed McVey), an unemployed loner with a talent for mathematics—and an even greater talent for spinning lies. Ripley’s paranoia comes from the implied list of crimes he has committed that he fears will eventually catch up with him.

However, one day, Ripley is tracked down to his favourite bar not by the law but by Herbert Greenleaf (Christopher Bianchi), a wealthy shipping magnate and the father of Ripley’s old school acquaintance, Dickie Greenleaf. Believing the two young men to be close friends, Greenleaf offers Ripley a financial incentive to travel to Italy and convince Dickie to return home, visit his dying mother, and join the family business. Sensing a chance to escape New York and the trail of crimes he’s left behind, as well as make some easy money, Ripley eagerly accepts.

 In Italy, Ripley meets Dickie (Bruce Herbelin-Earle) and Dickie’s lover, Marge Sherwood (Maisie Smith). Dickie is initially cool toward Ripley’s attempts at friendship, but a shift in approach brings the two men closer. Soon, Ripley finds himself drawn into Dickie’s carefree, playboy lifestyle, one that appears to revolve entirely around Dickie Greenleaf, with little regard for anyone else, including Marge.

However, Tom is clearly beginning to develop feelings for his new best friend, but is it romantic feelings, or the desire to have his lifestyle or both that is driving him. Eventually a confrontation between the two sees Ripley having to use his charm, intellect and many gifts to stay one step ahead of the chasing pack.

This intriguing stage adaptation reaches moments of real brilliance, but these are occasionally undermined by its bloated running time and some convoluted artistic choices. Certain scenes labour their point a little too heavily, while others blur the line between reality and Ripley’s imagination in ways that can become confusing.

What is never in doubt, however, is the exceptional performance of Ed McVey. Across the two-and-a-half-hour running time, he delivers a towering portrayal, present in nearly every moment. McVey shifts effortlessly from cool charmer to unhinged narcissist, anchoring the production with a charismatic turn made even more impressive by his command of the dense, dialogue-heavy script.

He is supported by strong performances from Bruce Herbelin-Earle and Maisie Smith. Herbelin-Earle is impressive as the conceited, self-centred pleasure seeker, treading the line between arrogance and charm with remarkable finesse. Smith, meanwhile, brings a much-needed calm and understated presence to the production. In a role that could easily slip into melodrama, she keeps things measured and controlled throughout.

Holly Pigott’s minimal stage design is another standout, enabling characters to enter and exit in inventive and visually striking ways. One of the production’s cleverest tricks is how the set can appear expansive one moment and suddenly feel claustrophobic the next, reflecting Ripley’s spiralling paranoia. At several points, the stage transforms into a 1950s film set, offering a glimpse into Ripley’s inner thoughts, a stylistic choice that works particularly well.

This is an entertaining if slightly drawn-out night out at the theatre. There are some fantastic performances, at times visually stunning complete with a script packed full of intrigue and suspense.

The Talented Mr Ripley is on at the Lowry until Saturday 22nd November

Tickets available available here.